I don't remember how I came to The Shape of Jazz to Come, but that's where my floodgates opened: I became an avant-garde jazz fanatic, and devoted a portentously named Sunday-night show on my college radio station, "Jazz for the Third Ear," to its dissemination in San Antonio between 19. I may have those two citings reversed, but you get the idea. Bill Bruford tips his hat to A Love Supreme, that's all the prodding I need. Sting says to check out In a Silent Way, I'm there. My passion for jazz ignited later, fueled by namechecks provided by favorite rock stars. By comparison, I am a dilettante, or at least a latecomer: My interest in jazz, pre-college anyway, was limited to Spryo Gyra, my gateway drug (thanks to my junior high percussion teacher), and Louis Bellson's Thunderbird - still a great small-band swing set, but what I'd actually wanted was a Gene Krupa record, surprisingly hard to find in not-yet-booming League City, Texas. Looking over Ethan Iverson's gargantuan catalog of great jazz records issued between 19, I'm overwhelmed both by the sheer wealth of great music that was made during this critically neglected era, and also by the depth of passion and insight Ethan (and his bandmates) were demonstrating toward jazz at such an early stage of life.
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